نشریه مطالعات تطبیقی هنر
پیاپی 6 (پاییز و زمستان 1392)

Spanish dramatist, Federico Garcia Lorca, is famous not only for his amorous plays but also for his impacts on later playwrights, in particular Iranian writers. Lorca initiated his works with writing poems; however, some years later he created his masterpiece “Bernarda Alba′ s House” using poetic prose. Accordingly, this research has concentrated on Lorca′s impact on Iranian dramatists and tries to answer the main question how Lorca′s drama affected Iranian dramatic literature while discussing the reasons of such effects.To obtain this goal, “Bernarda Alba′ s house” will be compared with two Iranian amorous plays: “Death in Ordibehesht” written by Mohammad Charmshir and “Last Mermaid” written by ChistaYasrebi. These plays are compared and analyzed with regard to dramatic structure.Accordingly, research findings, based on analytic-descriptive method and library sources, show that all mentioned cases in this research are rather similar in various aspects such as narrative model, plot, theme, character and setting structure which all represent the fact that the two mentioned Iranian plays were affected by Lorca′s play. All cases also depict an opposition between convention and freedom through some revolutionary circumstances; that is, if Lorca′s play is accepted by Iranian dramatists, it is largely due to the cultural and social resemblances existing between these plays.

Today, change of attitude to carpet studies is seriously felt because such area is experiencing changes in its value system. Carpet has changed from a purely functional object into a significant and multi-dimensional medium. Discursive system of Kerman’s carpet with its brilliant history can be considered as one of the most important centers for the production of discourse and meaning in Persian carpet system. Discursive system in Kerman’s carpet has several dimensions in which intercultural process can be considered as one of the active discursive fields. A number of Kerman’s Qajar carpets belonging to pictorial genre display deep intertextual relations with French pictorial tapestries. These carpets depict mythic narrative in the form of visual texts by a translating process based on visual system.These visual translations can imply the deep meanings of intercultural relations in a discursive action. Using semiotic approach and comparative analysis method, this research aims to answer the following main questions: which mechanism does intercultural relations process in discursive studies of Kerman’s carpet follow and which discursive elements can be effective in semiotic analysis of the intercultural relations process?By studying intercultural relations in two kinds of visual texts of Kerman’s carpet and French tapestry, this article has tried to show intercultural relations mechanism in different media and cultures. In order to achieve this overall purpose, meaning or meanings that are searchable in the communication process will be evaluated.

The motif of winged bull- human is a reflective motif many examples of which exist in western Asia. Regarding this motif in Persepolis, it is generally said that such motif in Persepolis might have been influenced by Khorsabad based on formal similarities. This research not only compares the appearance of these two motifs but also compares their identity and function. The questions of this research are as following: what is the primary theme of the motif generally preserved without change and what changes took place in the secondary theme due to borrowing the motif in Assyria and Achaemenid civilizations? The main aim of this research is to specify the identity and function of winged bull- human in Assyria and Achaemenid civilizations. For this purpose, a comparative study of mentioned motif was done in the palace of Khorsabad and Persepolis. Accordingly, a three-stage method was used for studying the two buildings separately. These stages or strata are represented by titles like “pictorial data”, “cultural and historical data”, and “the analysis of the motif and Paradigm”. After the analysis of the motif and Paradigm in the two places, there are comparisons based on similarities and differences. Main results of this study are as following: winged bull- humans are protectors of life symbols. In Khorsabad, they protect the king’s life, the best symbol of life, and in Persepolis they protect the blessing. Winged bull- humans of gateways have more dignity than the king. There is no need to the protection by the human - winged bulls around the temples. The Assyrian winged bull- human with three pairs of horns is stronger than the one with two pairs of horns in Khorsabad. They are accompanied by semi-divine creatures and the high priest in Khorsabad.

The history of calendar symbols in Iranian art, including constellations and astronomical signs, dates back to prehistoric periods. These symbols appeared in ancient works of Iran and reappeared with many forms in the artistic works of Islamic period as well. In the late second century, Indian astronomical topics also appeared in Islamic astronomy. The attention of that time’s rulers to astronomy increased its importance among residents of Islamic region and led to the changes of astronomical signs in the artistic works one of its instances is pottery and its designs. Muslim artists moderated many symbolic designs of Iran ancient art and kept them alive by harmonizing Islamic motifs through Islamic world view. Many remained designs of Islamic period have been formed on the basis of symbolic concepts which reflect religious and belief issues.Regarding the fact that Persian potters used a motif for decoration in each period, the following questions can be asked: First, other than decoration in which areas did the artists use the motifs? Second, what was the purpose of potters for using astronomical symbols?This study has a qualitative and strategic structure and uses field and document methods for gathering its data. The main purpose of this paper is to recognize the astronomical designs of Sgrafiatto potteries in the museums of Bonyad Mostazafan via comparing with astronomical symbols and potteries of other collections.Since in the middle centuries of Islamic period the popularization of astronomy for decorating objects began with constellations and personification of planets, it reinforced the belief that decorative astronomical objects with talisman power give the person the occult power of stars and protect him from certain diseases, failures and misfortunes.

The term “simultaneity” means the exhibition of various spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity” has been used for referring to Persian painting and Cubist paintings of Picasso. For this reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian painting and Picasso painting each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial simultaneity” lacks enough precision for describing Persian painting. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso paintings are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian painting and Picasso painting involves similarities and differences. For instance, in Persian painting, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso painting, space is perceptual and dependent on the material world. For this reason, it can be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian painting because such term has been used for the first time to define Cubism style in painting which is not in complete correspondence with Persian painting.

Hand-woven textiles of Turkman race have been made in various sizes in response to needs of emigration life. Namazligh is one of the most prominent Turkman hand-made textiles woven by women from ancient times as an identity-giving and functional element for doing ritual practice of praying. The purpose behind weaving and using such textile is not simply restricted to religious aspects but it comprises social and cultural aspects as well to the extent that, like an inseparable element of life, it is used in the most important socio-cultural rites of Turkman race. In each culture, there are key symbols which represent important meanings, values and beliefs of that society. Such symbols are classified into summarizing and explanatory ones. The first group mostly consists of sacred symbols which have a key role in transference and continuation of pivotal meanings and values of a culture. Accordingly, by using analytic-descriptive method and doing library as well as field studies in the field of key symbols, Namazligh and its symbolic significance in Turkman culture of Agh Ghala region have been studied. The origin and reasons of using certain designs in Namazlighs are dependent on the life style of Turkman race and are under the influence of pre-Islamic beliefs and elements of natural environment which survived in the textiles via creating new concepts after their conversion to Islam in mid-sixteenth century. Thus, as key and sacred symbol, Namazligh brings this question to the mind that what is the relationship between social, ritual and cultural aspects of Namazligh and Turkman race? The results of this study show that, such hand-woven textile represents the most important Islamic and pre-Islamic beliefs and values of Turkmans besides their most significant cultural elements. The cultural function of Namazligh is, in addition to transference of such meanings, to internalize them in the members of society and suggesting a kind of emotional attachment and motivation for following such meanings. Thus, it is like a context for creating designs which are related to a certain belief and has specific functions such as repelling evil-eyed injuries, security, birth and fertilization.

After the rise of Islam, the architectural styles of lands which joined the Muslim territory changed so that masterpieces such as great Mosques appeared as its result. The influence of Islam on both content and form of this architecture cannot be denied. The source of this influence is the knowledge mentioned in the generalities of the Holy Quran. The quality of such influence and the message of architectural work have been studied through tradition, mysticism and illumination. But the question is: Is it possible to look through the lens of the Quran and find a way to represent the truth embedded in the Quran in Islamic architecture?Using asymmetrical comparative method, this research aims to show how the Quran influences Islamic architecture via its literary elements. By explaining the status of the Quran and Islamic architecture as an art in the world, it is characterized that architecture is a place for representing the truth, like created beings, stated by human being in sensible world from supersensible world. Thus, it is the representation of very one reality, which is expressed by God in the form of words in the Quran. Since language in the Quran and architecture is embellished, a literary system can be considered for both of them. The language of the Quran is simple and clear, so the aspects and elements of literary system in the Quran can be identified. Through corresponding key common concepts in the literature of architecture and the Quran, the properties of those elements can be used for enhancing the “verisimilitude” of architecture. Correspondence between “theme” in the Quran and “concept” in architecture, “structure” in the Quran and “the organizing system” in the architecture, “form” in the Quran and “form” in the architecture and their applications are examples that show the representation of the Quran’s literary structure in Islamic architecture and the influence of Quran on it.

The structural and operational defects of architecture have been turned into an obvious and noticeable issue for the experts and the public. This article explores more than ten years of experience in teaching courses at Art University of Isfahan and also refers to the role of correct training of engineers in promoting the operational quality of the architecture and especially seeks the answer of this question: how can technical courses increase the professional capabilities of graduates and consequently improve the quality of operating the buildings? In this regard, with the aid of case study on one of the expected abilities of the graduates, a technical test has been performed to assess the result of their education and in order to elucidate the role of educational system in defects of building industry, the test has been repeated in Germany (Architecture college of Berlin’s technical university) which has different conditions from Iran regarding the quality of construction. In addition, the process of education has been studied by analyzing the curriculum, the procedure of teaching courses, application of cognitive psychology issues like situation – based training, master and student system and its comparison with two different educational systems. After evaluating an index as an indication of appropriate relationship between educational environment and professional community, the educational system of medicine was studied and the most important reasons for this successful relationship were extracted and the strategies for extending such experience to architecture teaching were proposed. Finally, the findings of this research are given in conclusion section in the form of three strategies: applying the cognitive method of teacher–student, emphasis on a situation-based learning and group instruction.

Nowadays, training expert and experienced manpower is a major concern and necessity in all societies. Recent investigations have proved that lack of knowledge and efficiency in educated people as well as educational institutions cause major problems globally. Thus, in parallel to developments in the world there is a major shift in the methods of education in favor of more attention to the techniques of talent discovery in students. In this regard, recent discoveries and ideas were made available to all researchers via information centers. This proves the need for more study and investigation in the field of new educational methods. Based on what was presented here, the important question is what the methods of teaching creativity are in contemporary Western psychology. One of the most important and popular methods for promoting the educational level is taking advantage of the techniques in the field of psychology. Thus, this article tries to investigate the efficiency of teaching creativity methods for promoting the level of creativity of students. This research is a foundational research which uses analytic-descriptive method to identify the methods and how they are working. Studies carried out in this research show that most methods for teaching creativity are focusing on creativity process and creative thinking. Thus, teaching creativity dose not lead to general development of creative mind, especially in the case of artists who depend on emotions in addition to logic.